Rhapsodie Jardine
for Oboe and Strings, Vivace Press, 1996
This work vividly evokes a landscape full of lush harmonies and exotic
melodic perfumes, a musical vista of resonant colors and aromatic
counterpoint. The opening fantasie-like section juxtaposes a minimalistic
ostinato pattern in the lower strings with the evocative and expansive melodic
line of the oboe. A somewhat askew waltz follows, an off-beat dance with a wry
oboe serenading a slightly awry orchestra. A return to the fantasie material
follows a brief contrapuntal transition. The fugue, alternating between 6/8
and 9/8, is passed among the strings and soloist. This leads to a plaintive
duet between the oboe and cello and a unison statement of the fugal subject
bring the piece to the end with a flourish.
Click here to view a
page of the score.
Chamber
Echoes from Tomorrow for Chamber Ensemble, Vivace Press, 2008
Echoes from Tomorrow was inspired by Adolf Mérei’s silent film, Simon Judit (Judith Simon; 1915), based on the nineteenth-century ballad by Jewish poet József Kiss. The movements reflect life’s passages from youthful Anticipation to the many difficult and often poignant Choices we face as we mature. Life is full of Transitions from childhood to young adult to Remembrances, often the comfort we have left. Echoes from Tomorrow is written for Flute, Clarinet, Bassoon, Piano, Violin, Viola and Cello.
Carondolet Caprice for Chamber Ensemble, Vivace Press, 2007
Carondelet Caprice for Chamber Ensemble
was inspired by pioneer American director Lois Weber’s 1913 silent film How
Men Propose. The moods and themes range from vibrant to nostalgic and
feature a distinctly American idiom. The whimsical interaction between the
instruments reflects the engaging nature of Weber’s film. Carondelet
Caprice is written for flute, clarinet in B-flat, piano, violin, viola and
violoncello.
Click here to view a
page of the score.
Separately Together: Synesthesia
for Chamber Ensemble, Vivace Press, 2006
I. Lilting Lines – Careening Melodies
II. Spattering Notes
III. Dancing Rhythms
IV. Lyrical Re-vision
V. Crescendo of Colors
Separately Together,
a five-movement work for chamber ensemble, was inspired by pioneer director
Alice Guy Blaché’s 1913 silent film A House Divided. The piece explores
a variety of emotions and atmospheres that reflect the sensory images of the
film. The instruments form an integrated tapestry of sound yet retain their
separate colors. Separately Together is written for flute, clarinet in
B-flat, piano, violin, viola and violoncello.
Click here to view a
page of the score.
American Solstice
for Chamber Ensemble, Vivace Press, 2006
American Solstice is loosely based on an original fiddle tune that captures
something of the flavor and independence of the American frontier spirit. The
second theme reflects the influence of the American hymn collection known as
The Sacred Harp, yet it features unexpected harmonies and yearning
melodic lines. This is followed by a sprightly section of playful imitation
and canon. The three themes develop and interweave, with an extended fugue
built on the fiddle tune that culminates in an exhilarating crowning
statement. American Solstice is written for flute, clarinet in B-flat,
piano, 2 violins I, 2 violins II, 2 violas, 2 violoncelli, and doublebass.
Click here to view a
page of the score.
Transformations
for String Quartet, Vivace Press, 2006
I. Pastorale • II. Towards Liberty • III. Re-strain • IV.
Commandment • V. For Life •
VI. One Out of Many • VII. Profit • VIII. Return
This eight-movement work for string quartet was inspired by pioneer director
Alice Guy Blaché’s 1912 silent film Making an American Citizen. The moods
range from nostalgia to agitation to resolution. This haunting score captures
a vein of folk America and utilizes the distinctive voice of each instrument.
Click here to view a
page of the score.
Forces at Play for Chamber Ensemble, Vivace Press, 2005
Forces at Play
was conceived as a modern ballet or a landscaped musical journey conveyed
through dance. The distinctive voice of each instrument weaves and interacts,
collides, dances and floats through time and space. Forces at Play is
written for flute/piccolo, clarinet in B-flat, violin, viola, cello, and
percussion.
Click here to view a
page of the score.
A Morning Trumpet for Organ and Oboe, Vivace Press, 2005
A Morning Trumpet is based upon five early American hymns from the Sacred Harp: “The Morning Trumpet”, “Morning Hymn”, “Come Away to the Skies”, “How Firm a Foundation” and “Swing Low, Sweet Chariot”, entwined in the interplay between the organ, that “great beast that never breathes” and the oboe, “an ill-wind no one blows good”.
Rustic Scene for Viola and Piano, Vivace Press, 2005
Rustic Scene for Viola and Piano
evokes the quintessentially American frontier character and spirit. Viola and
piano imitate, chase, and call out to the other as they explore the full range
and dynamic possibilities of both instruments. Folk-like melodies, harmonies
built on fourths, dissonances of rubbing seconds, clashing sevenths, and
devilish fourths (diabolous in musica) give color to the dialogues, vividly
evoking a landscape full of lush harmonies and exotic melodic perfumes, a
musical vista of resonant colors and aromatic counterpoint.
Click here to view a
page of the score.
Emanations of the Sacred Harp for Cello and Piano, Vivace Press, 2004
The first movement, Morning Fantasy, is an eloquent fantasy beginning
and ending with a quasi-improvisatory setting for the central hymn tune “The
Morning Trumpet.” The second movement, Reeling Chester, begins with an
introductory fragment and then a complete statement of “Chester” in the cello,
clothed in a polyphonic texture in the piano and evoking the energy and drive
of the early New England style. The counterpoint then becomes the subject of
a vintage Harbach fugue that weaves “Chester” into its fabric along with
another fugue, reels and more hymns.
Click here to view a
page of the score.
Perambulation
for Trumpet and Piano,
Vivace Press, 2004
Perambulations for Trumpet and Piano
showcases the lyric possibilities
and rhythmic energy of the trumpet. It opens with a blues-tinged melodic theme
before moving to a bright Vivace toccata in the piano with emphatic
chords and considerable interplay between the two instruments. Development of
each theme is followed by a playfully relaxed trumpet cadenza before joining
with the piano for a bravura finish.
Click here to view a
page of the score.
Rhapsody Ritmico
for Brass Quintet,
Vivace Press, 2004
Rhapsody Ritmico for Brass Quintet
opens majestically with fanfare
punctuations. The second section is a gently lilting lullaby with imitation in
the upper brasses and a melodic and rhythmic ostinato in the lower brasses.
The horn introduces a merry fugue subject, and then each instrument joins the
frolic. The various themes and sections are richly interwoven before a
dramatic final flourish.
Click here to view a
page of the score.
American Dialogues
for Flute and Piano,
Vivace Press, 2004
American Dialogues for Flute and
Piano evokes the quintessentially
American frontier character and spirit. Flute and piano imitate, chase, and
call out to the other as they explore the full range and dynamic possibilities
of both instruments. Folk-like melodies, harmonies built on fourths,
dissonances of rubbing seconds, clashing sevenths, and devilish fourths (diabolous
in musica) give color to the dialogues. The musical terrain includes calm,
quiet conversations, ecstatic dancing, and fiery musical competition before
settling on a common vision.
Click here to view a
page of the score.
Four Dances for Two
for Oboe and Violin,
Vivace Press, 2004
Rococo Promenade • Afternoon
Divertimento • Get Reel • Holiday Glide
Rococo Promenade is based on the
Baroque French overture style with a galloping fugal middle section before a
return to the jaggedly dotted style of the beginning. Afternoon
Divertimento alternates a calm, lullaby-like mood with bursts of frenzied
energy typical of a weekend afternoon. Get Reel portrays a whimsically
reeling, roiling, reel (really!) with rapid and smoothly flowing figures.
Holiday Glide features clockwork precision interpolated with slides and
glides and glissandi.
Click here to view a
page of the score
Frontier Fancies
for Violin and Piano, Vivace Press, 1996
Fiddleflirt • Twilight Dream • Dancedevil
This exuberant set showcases the interaction between the violin and the piano.
In Fiddleflirt, the two instruments are protagonists in a duel of speed
and energy. Twilight Dream is an evocative aria and lush respite before
the wild tarantella of Dancedevil.
Click here to view a
page of the score.
Daystream Dances
for Oboe and Piano, Vivace Press, 1996
Rolling Brightness
Reeling Dusk
This exuberant set showcases the abilities of both pianist and oboist.
Rolling Brightness is a rollicking and upbeat dialogue between oboe and
piano. Its soaring lines and frequent key changes give it a playful
character. Reeling Dusk is a headlong rush into a whirl of sound
and sense. The unusual meter signature of 11/8 creates a slightly
off-kilter sway. Rhythmic complexities lead to a dramatic oboe cadenza
before returning to the opening theme and meter.
Wind
Emanations from the
Sacred Harp for Concert Band, Vivace
Press, 2008 (in press)
Emanations from the Sacred Harp
for Concert Band began life and a piece for
cello and piano. The first movement, Morning Fantasy, is an eloquent
fantasy beginning and ending with a quasi-improvisatory setting for the
central hymn tune “The Morning Trumpet.” The second movement, Reeling
Chester, begins with an introductory fragment and then a complete
statement of “Chester” in the cello, clothed in a polyphonic texture in the
piano and evoking the energy and drive of the early New England style.
The counterpoint then becomes the subject of a vintage Harbach fugue that
weaves “Chester” into its fabric along with another fugue, reels and more
hymns.
Freeing the Caged Bird for Woodwind
Quintet, Vivace Pres, 2007
Freeing the Caged Bird
is a four-movement tribute inspired by the literary works of four native St.
Louis women who struggled to give
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voice to their creativity. The first movement is based on the book I
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Know Why the Caged Bird Sings, by Maya Angelou, who is regarded as one
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of the great voices of contemporary literature. The second movement
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represents Kate Chopin’s then notorious novel The Awakening, first
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published in 1899. Inspired by Sara Teasdale's (1884-1933) poem
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“Sunset St. Louis” the third movement evokes the swirling, twilight
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imagery of her poem. The last movement, Hong Kong Holiday,
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based on Emily Hahn’s book, expresses the joie de vivre of a woman who
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refused to accept society’s dictums.
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Fantasy and Fugue on Swing Low, Sweet Chariot
for Woodwind Quintet, Vivace
Press, 2006
A woodwind quintet setting of one of America’s most popular spirituals. The
dramatic fantasy section includes a lyrical rendition of the melody; this is
followed by a lively fugue.
Click here to view a
page of the score.
Organ
Come, Join the Dance: Folktunes and Spirituals for Organ, Augsburg Fortress Press, 2008
Come, Join the Dance is a collection of seventeen arrangements in a variety of styles from trios to toccatas to fugues.
Wade in the Water for Organ, Augsburg’s Organ Library: Baptism and Communion, Augsburg Fortress Press, 2006
Azmon for Organ, Baptism and Communion, Augsburg Organ Library,
2006 (Also included in
On Our Way Rejoicing –
A Collection of Organ Music, Augsburg Fortress
Press, 2002)
Fantasy and Fugue on a Hungarian Melody for Organ, Vivace Press, 2005
Fantasy and Fugue on a Hungarian Melody
is based on the Hungarian folk melody Erre Gyre and features toccata
figurations, canon, inversion, retrograde and fugue.
Click here to view a
page of the score.
Gloria! Organ Music for Advent and Christmas,
Augsburg Fortress Press, 2005
Skillfully constructed, this collection includes energetic settings of
favorite carols, an exciting recessional for Christmas called "Gloria," and a
delightful quodlibet of carols. Harbach writes music at the moderate level to
fit any size instrument.
Tunes: Besancon; Veni Emmanuel; Wie schon leuchtet; Picardy; Antioch; In
dulci jubilo; Stille Nacht; The Shepherds Went Their Hasty Way; Puer nobis,
Carol, The First Nowell;Quelle est cette odeur agreable.
Hosanna, Loud Hosanna: Organ Settings for Lent
and the Passion, Augsburg Fortress
Press,
2004
A variety of moods are expressed in this collection of hymn settings for Lent
and Holy Week. Harbach expresses a thoughtful approach to the texts of these
ecumenical hymns, providing some new voluntaries for the church musician. The
setting of Were You There is short yet poignant.
Tunes: Christ Lag In Todesbanden; Ellacombe; St. Drostane; Valet
Will Ich Dir Geben; Were You There; Wondrous Love
Toccatas and Fugues on Hymns from the Sacred
Harp for Solo Organ, Vivace Press,
2003
William Billings Chester • David Walker Hebrew Children • B.F. White The
Morning Trumpet
Toccatas and Fugues on Hymns from the Sacred Harp is a collection based on
hymns from early American composers William Billings, David Walker and B.F.
White. The various works feature lively toccatas, modal tonalities and the
compelling melodies of three of America’s most memorable hymns.
Click here to view a
page of the score.
Toccatas and Fugues on Hymns by European Women for Solo Organ, Vivace Press, 2003
Toccatas and Fugues on Hymns by European Women features Charlotte Barnard’s Give of Your Best. It opens with toccata figures with a full statement of the hymn melody in the pedal. A four-voice fugue follows with toccata interspersions, and finishes with a short toccata section with the melody in the left hand. Suite on Jubilee is based on Frances Chattock’s hymn Ye Boundless Realms of Joy. The Suite opens with t proclamation using gestures of the opening measures of the hymn tune. A two-part pedal section introduces the entire hymn tune, and then ends with the opening proclamation. The next movement uses canon at the octave as the unifying factor. The final movement is a rhythmic toccata with the hymn melody in the pedal. Who is on the Lord’s Side? Was written by C. Luise Reichardt. Harbach’s arrangement opens with an improvisatory-fantasia style, followed by a toccata with the hymn tune in the pedal. A four-voice fugue evolves interspersed with the improvisatory-fantasia material, and toccata elements.
As We Gather
- A Collection of Organ Music, Augsburg Fortress Press, 2003
As a companion to On Our Way Rejoicing, this collection contains five
festive hymn settings that are appropriate gathering music as well as
voluntary-style pieces for worship. Barbara Harbach chose sturdy hymns which
cross a variety of ecumenical settings making this a volume with broad appeal
in the organ world.
Tunes: American Hymn; Cwm Rhondda; Grosser Gott; Unser Herrscher;
Wunderbarer König
Swing Low, Sweet Chariot
in Augsburg Organ Library: Autumn, Augsburg Fortress Press,
2003
Darwall’s 148th , Augsburg Organ Library: Autumn, Augsburg Fortress Press, 2003
Ein Feste Burg for Organ, Augsburg Organ Library: Autumn, Augsburg Fortress Press, 2003
Festival Flourish for Organ in Organ Music for the Seasons, Vol. 3, Augsburg Fortress Press, 2002
On Our Way Rejoicing – a collection of organ
music, Augsburg Fortress Press, 2002
Postludes, voluntaries and fantasies on sending hymns. Perfect to close the
service with feeling and quality. Ideal for extending the spirit of a rousing
sending hymn as the people move out into the world.
Suite on German Chorales,
Augsburg Fortress Press, 2002
This suite includes seven movements in a variety of styles based on the German
chorales of Martin Luther; the movements include a rhapsody, toccata, reverie,
ricercare/motet, and bold harmonic statements of the tunes. Useful
voluntaries, either separately or as a complete suite for an extended prelude
or concert repertoire.
Toccata and Variations on The Lord is My Shepherd for Organ, Augsburg Fortress Press, 2000
An organ voluntary based on the Jesse Seymour Irvine tune "Crimond." Also found in Augsburg Organ Library: Easter.
French Suite on Adeste
Fideles for
Organ, Vivace Press, 1998
These four variations are based on
Baroque dance forms. The opening French Overture is regal and rhythmic.
The quiet Allemande recalls Bach's chorale preludes for manuals alone.
The sprightly Trio has the melody in the pedal, with scales and joyous
leaps in the manuals. The final Toccata exhibits a propulsive and
breathless charm.
Click here to view a
page of the score.
Toccata on All Hail the
Power for
Organ, Vivace Press, 1998
This appealing and exciting setting of
the hymn tune Diadem features trumpet flourishes, a majestic setting of
the melody in the pedal with toccata figurations in the manuals, and a lively
fugue that combines the fanfare motives, the fugal subject, and the toccata
elements, all leading toward a breathless ending.
Click here to view a
page of the score.
Swing Low, Sweet Chariot
for Organ, Vivace Press, 1997
(Also included in Autumn, Augsburg Fortress Press, 2003) The dramatic
fantasy section also includes a lyrical rendition of the melody; this is
followed by a lively fugue based on this beloved tune.
Click here to view a
page of the score.
Toccatas and Fugues on American Hymns
for Organ, Vivace Press, 1996
Blessed Assurance, Jesus is Mine • There's a Wideness in God's mercy
• Nearer, Still Nearer
This edition offers engaging interpretations of several beloved American
hymns. Each is arranged with an opening toccata, a fugal section, and a
closing flourish. Appropriate throughout the year, these appealing
arrangements will quickly become favorites of the congregation or audience.
Excellent historical notes included.
Click here to view a
page of the score.
Easter Toccata
for Organ, Vivace Press, 1996
This blazing toccata is built on the well-known seasonal hymn, "Jesus Christ
is Risen Today" (Easter Hymn). It is a dynamic piece that features the melody
in the pedals and bravura sixteenth-note motion in the manuals. A more
introspective middle section offsets the two toccata sections.
Click here to view a
page of the score.
Summershimmer
for Organ, Vivace Press, 1994
This immediately-appealing work was premiered to great acclaim in the summer
of 1993 in Fairbanks, Alaska. Later broadcast throughout the Inland Northwest
on PBS, the work features lyric playfulness, a challenging pedal part, and
acrobatic ornaments.
Click here to view a
page of the score.
A Suite of Holiday Trios
for Organ, Vivace Press, 1994
Trio on O Come, All Ye Faithful • Trio on Silent Night •
Holiday Trio
Effective either as a single suite or as individual preludes or offertories,
these charming compositions will be popular with congregations year after
year.
Click here to view a
page of the score.
Fanfare and Toccata on Lasst Uns Erfreuen
for Organ, Vivace Press, 1993
This bright-sounding toccata is built on the easily-recognized "All Creatures
of Our God and King." Appropriate for concert or for church, it opens and
closes with full organ fanfare and features a central part of perpetual motion
and interesting modulations. Also available on compact disc recording.
Click here to view a
page of the score.
Piano
Phantasy and Phugue
for Solo Piano, Vivace Press, 1995
Following a thunderclap opening, the mysterious atmosphere builds until the
tolling of low octaves in the bass heralds a hypnotic middle section. One of
the techniques employed in this section is a melody superimposed over a
repeated rhythmic pattern. This moves into an athletic gigue-like fugue. Four
or five minutes in duration, this is a spellbinding contemporary piece to
round out a program.
Click here to view a
page of the score.
Suite Alternatives
for Solo Piano,
Vivace Press, 1995
I. Upturn • II. Nocturne • III. Return
The first piece is bright and imitative; the second composition has
interesting contrasts between lyricism and unexpected melodic twists; the
finale alternates between playfulness and percussiveness. This set is written
for specific technical needs of advancing pianists. Playing in the outer
ranges of the keyboard, accuracy with wide-spaced melodic lines, and balance
between hands in imitative sections are just a few of the techniques these
pieces will develop.
Click here to view a
page of the score.
Harpsichord
Tres Danzas para Clavecin for Harpsichord, Vivace Press, 1993
Spaindango: a Caprice for Harpsichord, Vivace Press, 1992
Fantasy and Fugue Frantique for Solo
Harpsichord, Barbara Harbach,
Vivace Press
The dramatic fantasy opens with an
unmeasured prelude section followed by a toccata area of mixed meter utilizing
the full range of the harpsichord. These two sections combine and intertwine
before introducing the jaunty fugue subject. A slower section interrupts the
fugue and contrasts the sounds of the lute and regular string sound before
returning to the bravura fantasy and toccata themes.
Click here to view a
page of the score.
Contemporary Composers for Harpsichord,
Vol. 1, Vivace Press
Arnold Rosner Sonatine d’Amour • Barbara Harbach Spaindango • Michael Rose
B’rachah (Benediction)
This volume collects some of the most popular and widely-heard harpsichord
music of the twentieth-century. CD Review has called Harbach’s
Spaindango a "fetching piece, full of antique flourishes mixed with
20th-century rage and madness, a cauldron of churning notes." Click here to
view a page of
Barbara Harbach
Contemporary Composers for Harpsichord,
Vol. 2, Vivace Press
Emma Lou Diemer Toccata • Barbara Harbach Tres Danzas para Clavecin
This second volume of Vivace’s contemporary harpsichord series pairs two
rhythmically vibrant works. Barbara Harbach’s recordings of twentieth century
repertoire have generated considerable enthusiasm and critical acclaim.
Tres Danzas para Clavecin has a Spanish flavor and frenzied outer
movements that feature flamenco clusters, glissandi, and fast arpeggios.
Click here to view a page of
Barbara Harbach
Vocal
Emily for Mezzo Soprano, Trumpet and Piano, Vivace Press, 2008
This three-movement piece is based on poems of Emily Dickinson – I Taste a Liquor Never Brewed, If You Were Coming in the Fall, Compensation and Wild Nights! Wild Nights!
Abigail
for Soprano and Chamber Ensemble of Flute, Clarinet/Bass Clarinet/ Bassoon,
Harp, Violin, Viola and Cello, Vivace Press, 2008
The four movements of Abigail tell the story of the love affair of
Abigail and John Adams through their letters to each other. Miss Adorable!
is the exuberant flush of first love, Lady Adams tells of her advocacy
for education for women; Remember the Ladies warns men to be generous
and let women vote; and My Heart is Light and My Spirits are Dancing is
Abigail’s farewell to John after fifty-four years of marriage.
Come Back, Oh Christ, Soprano and Piano, 2006
Come Back, Oh Christ was written for Little Flower Church in Richmond Heights, MO for Christmas Eve 2006.
Pleasure Flow, Tender Mist for Soprano and Piano, Vivace Press, 2006
Wind • Tend • Mist • In the Calm in the Cool •
Pleasure is flow
This song cycle for soprano creates
a gently stirring atmosphere that draws on the simple but pleasing lyrics.
Each movement is distinct in its affect and harmonic structure yet together
form a flowing organic whole. The moods range from gently nostalgic to
playful.
Click here to view a
page of the score.
Cherish - Caress
for Soprano and Cello, Vivace Press,
2004
Cherish – Caress is a lyrical duet for soprano and cello. It is based
on a warm and playful treatment of the etymology of charity. Barbara
Harbach transforms these lyrics into a searchingly beautiful lullaby.
Click here to view a
page of the score
Pioneer Women: From Skagway to White Mountain
for Soprano, Clarinet and Piano,
Vivace Press, 2003
Pioneer Women is a collection of four portraits of American women who
helped to settle the wilds of Alaska. Taken from their diaries, letters,
monographs, and journals, the texts chronicle their journeys throughout
Alaska, from Skagway, the Southeastern entrance into Alaska, to White
Mountain, near Nome, on the western coast of the Bering Sea.
Click here to view a
page of the score.
Musicals
Booth! The Story of Edwin Booth
“…think no more of him now as your brother. He is dead to us now.”
With these words Edwin Booth, the great American actor, would commence a tortured existence. His infamous brother John Wilkes Booth assassinated President Abraham Lincoln. In the search for the President’s assassin the Booth family once beloved by the American public, suddenly found themselves subjected to its ire and fury. This prudent advice from Edwin to members of the Booth family was aimed at their preservation from vigilante justice.
Booth! is a reflection on the life of Edwin Booth. We journey into the atelier of this maverick actor and the significant events that have marked his life from the perspective of his daughter, Edwina Booth.
Engulfed in this reflection, we undertake a musical voyage into the sometimes-disturbing relationships that defined Edwin the son, the husband, the father, the brother and essentially the actor. Undoubtedly, the dastardly act of his brother John Wilkes plays a major part in shaping and influencing Edwina’s reflection on the life of Edwin Booth.
Hester – The Scarlet Letter
Somber townspeople gather in a
square dominated by a platform and pillory on one side and a prison on the
other. They sing of Puritan values and their sense of community in the
hymn-like A Massachusetts Blessing (Song 1). A strident voice cries
out scornfully, focusing the crowd on the prison in Death to Hester
(Song 2). Inside, Hester embroiders and sings of the lessons learned from
Every Stitch on My Letter (Song 3). Hester emerges from the prison and is
met with the ridicule and contempt of the crowd in Hester, Hussy (Song
4). Her long-absent husband appears, learns of her adultery, and sings Ha!
Chillingworth (Song 5).
The town elders recite the case against Hester, urge her to confess to Falsehoods of the Flesh (Song 6), and name the father of her child. Standing on their Platform of Shame (Song 7), Hester refuses to implicate the Rev. Dimmesdale. He sings Silent Shame (Song 8) which subtly reveals his dilemma and foreshadows his death. Hester, condemned to the pillory, sings philosophically of her self-reliance in Here I Stand (Song 9). The men sing Secrets of the Heart (Song 10), with the Governor, Dimmesdale, and Chillingworth each admitting he is drawn to Hester.
Chillingworth establishes a wary truce with Hester in Chain of Iron (Song 11) and convinces Hester to keep his identity secret. The Man of Iron Will (Song 12) underscores Chillingworth’s determination to find Dimmesdale. Interlude: Waiting and Watching (Song 13) reinforces what’s at stake for each of the three main characters, over the passage of seven years.
Act Two opens with Pearl’s Dance (Song 14) and Pearl, Priceless Pearl (Song 15) which establish the affection of mother and daughter. They appear before the elders who are torn between seeing Pearl as a Scarlet Elf (Song 16) and a witch in Hester’s Child (Song 17). Hester rebuts the elders with a reprisal of Every Stitch (Song 18). Dimmesdale comes to her defense, suggesting that Pearl is a Blessing Born of Sin (Song 19).
A strange chemistry is brewing between Chillingworth and Dimmesdale in Rival Elements (Song 20). When Dimmesdale’s health fails, Chillingworth exults that My Victim’s on the Rack (Song 21). Dimmesdale stands at midnight on the pillory, seeking A Moment’s Peace (Song 22) from his inner torment. He is joined by Hester and Pearl as One Family Hand in Hand (Song 23).
Hester confronts Chillingworth in A Black Flower (Song 24) and reminisces about her youth in What Happened (Song 25). Meanwhile, Pearl meets a witch who suggests that all society hides behind The Cloak of Piety (Song 26). Hester and Dimmesdale meet and discuss their hopes for the future in I’ll Be Your Heart (Song 27). With The Scarlet Letter’s Gone (Song 28), they would both at long last experience relief, and even joy. Hester puts her letter back on and briefly reprises Every Stitch (Song 29).
Events quickly reach a climax in the festive New England celebration of Election Day Chorus (Song 30) which moves directly into a reprise of the initial A Massachusetts Blessing (Song 31) as they file into church. Dimmesdale preaches an enigmatic and moving Election Day sermon about The Promised Land (Song 32) that he won’t reach. Shocking everyone, he reaches out to Hester and Pearl. They stand together on the pillory and publicly reprise One Family Hand in Hand (Song 33). Chillingworth loses his victim, Dimmesdale dies, and Hester, standing with Pearl, reprises Here I Stand (Song 34).
Tom & Sally – A Slave to Love
The Love Story of Thomas Jefferson and His Slave Sally Hemings
The musical begins on the plantation of John Wayles (Jefferson’s father-in-law), where the slaves sing When I Cross That River (Song 1), a rousing spiritual that reflects their lives of hard work and their hopes for the future. Sally is the teenage daughter of Wayles and his slave Betty Hemings. Filled with typical teenage longings, she sings Looking for an Angel (Song 2). Down Slavery’s Road (Song 3) is sung as the slaves move via wagon train to Monticello, because they have been willed to Martha Wayles Jefferson. They are welcomed at the stately Monticello (Song 4) and join a celebratory Down-Home Hoedown (Song 5).
Jefferson comforts his dying wife by singing (Happily) Never After (Song 6). The slaves of the Monticello estate share a rich culture As Old as the Hills (Song 7). Meanwhile, Jefferson’s wife dies and Jefferson mourns her loss in The River Styx (Song 8). The slaves mark her passing with the jubilant spiritual The Good Lord is Comin’ for Me (Song 9).
Tom responds to the growing American Independence movement in One Nation, Fair and Free (Song 10), along with chorus and Sally who simultaneously articulates her own vision of what it means to be free. Tom is increasingly attracted to Sally, and sings She’s a Woman (Song 11). With the independence movement coming to a climax, Jefferson writes the Declaration of Independence (Song 12) which he delivers along with the Virginian delegation from the Continental Congress. During a quiet moment in the celebration, Tom and Sally sing the love duet Passage to My Heart (Song 13). Act One ends with a great celebration in Virginia’s Real (Song 14).
Act Two opens with a festive slave wedding Jump the Broom (Song 15), a celebration involving several plantations. Sally entertains the gathering with Evening Love (Song 16). After the event is over, Callender, a drunken politician, tries to rape Sally, who is saved by her brother, James. Callender brutally whips James until finally discovered by Jefferson. James sings angrily of A Human Soul (Song 17), and Callender promises Callender’s Revenge (Song 18).
A year later in Jefferson’s personal study, Sally sings A Mother’s Lullaby (Song 19) to their child Madison. They discuss his political travels and responsibilities. She sings of her love for Jefferson in A Slave to Love (Song 20).
Some years go by, and Jefferson is elected President. Slavery continues to produce numerous personal tragedies, evoked in Many Thousands Gone (Song 21). The scandal of Jefferson and Sally’s relationship is broken by Callender, and immediately makes front pages across the nation. A Yankee Doodle Scandal (Song 22) captures the eighteenth century media circus, and incorporates authentic lyrics from the lampooning ballads of the day. Sally, back at Monticello, sings Love is the Loneliest Thing (Song 23), echoed by Jefferson. Callender is found dead in a river, and Jefferson remains silent during the scandal. Jefferson returns home to great acclaim in Jefferson, the Virginian (Song 24). Since freeing Sally would be dangerous for both Tom and Sally, he frees their son Madison Hemings, who sings I’ll Head for a New Horizon (Song 25). Tom and Sally (and chorus) envision a day when slavery is ended in America, The Promised Land (Song 26).
A Page from the Christmas Story (forty-minute Christmas musical for youth), Vivace Press, 1991
Find out what the journey to Bethlehem was really like as you travel with Zak, the young servant of the three Wise Men. Despite the discomforts of endless sun, sand, and travel, the caravan finally reaches the manger and witnesses the wondrous event that has taken place. Written for unison youth choir with optional two and three-part choruses. 35 minutes long. Songs include: Mystic Star, Magnet Bright; A Single-Page Disaster; A Thousand Miles from Nowhere; From Celestial Vaults sublime; A Small Step Forward; Polished Gold and Bitter Myrrh; This wondrous Place; and The Star Within.
Teaming the Shrew – A Mate for Kate
Teaming the Shrew is
the wonderful retelling of Shakespeare’s
Taming the Shrew.
Join the Party in Padua (Song 1) chorus
A Single Glance (Song 2) Lucentio
Bianca, Bellissima (Song 3) suitors & chorus
Petruchio, the Rock (Song 4) Petruchio & servants
Papa’s Pampered Pet (Song 5) Katherine, Bianca, and Baptista
I’ll Out-Kate My Little Kat (Song 6) Petruchio
Who Knows Love (Song 7) Katherine
SOL, You are the Sun (Song 8) Hortensio (as music teacher)
Ardor in the Arbor (Song 9) Lucentio (as scholar)
Awfully, Lawfully Wed (Song 10) chorus
Reprise: Join the Party in Padua (Song 11) chorus
Drink Up, and Carpe Diem! (Song 12) servants to Petruchio
Reprise: I’ll Out-Kate My Little Kat (Song 13) Petruchio
The Art of Love (Song 14) Lucentio and Bianca
It Surely Shall Be So (Song 15) Katherine and Petruchio
Merry May Day (Song 16) chorus
The World’s a Stage (Song 17) Katherine
Reprise: Join the Party in Padua (Song 18) chorus
Daniel and the Beastly Night (thirty-minute musical for youth), Vivace Press, 1991
Experience this timeless Biblical drama of the prophet Daniel who faces death because of his commitment to prayer. Incorporating humor and a variety of musical styles, this exciting story of intrigue and attempted assassination has captured the imagination of audiences and choirs throughout the country. Daniel and the Beastly Night is written for unison or two-part choir. 35 minutes long, it promises to be an educational and entertaining addition to any worship service or special event. Songs include: Daniel the Lion-Hearted; The Cause of Jealousy; The King of High Fashion; Daniel’s Prayer; The Beastly Night; Praise the Lord of Miracles; and Praise God! Raise a Clatter!
Film Scores
Judith Simon 40-minute, 1915 silent film for flute, clarinet bassoon, piano, violin, viola, cello and conductor, 2006
How Men Propose, 1913 silent film for flute, clarinet, piano, violin, viola, cello, 2005
A House Divided, 1913 silent film for flute, clarinet, piano, violin, viola, cello, 2005
Making an American Citizen, 1912 silent film for string quartet, 2004
Choral
I Know Who Holds Tomorrow, 2006
Light Out of Darkness, SSA, 2005
Love has Opened Wide the Door, Vivace Press, 1992
Audible Light, Vivace Press, 1992
Luther Cantata (seven movement SATB cantata) Vivace Press, 1991
Rolled Away (arr.), Vivace Press, 1991
Bathe My Soul, Vivace Press, 1991
To Kindle Every Frozen Heart, Vivace Press, 1991
As Sun Disperses the Mourning Clouds, Vivace Press, 1991
Of Christ’s Dark Cup, Vivace Press, 1991
He Will Care For Me, Vivace Press, 1991
Praise Him with the Trumpet, Vivace Press, 1990
This Night in Bethlehem, Vivace Press, 1990
Sing! Christ is Born! Vivace Press, 1990
Our Christmas Gift, Vivace Press, 1990
What is the World to Me (arr.), Vivace Press, 1990
We Proclaim the Wondrous Glories (arr.), Vivace Press, 1990
There’s a City on a Hill, Vivace Press, 1990
Sing, Alleluia, Vivace Press, 1990
Infant of Light, Vivace Press, 1990
The Christmas Babe, Vivace Press, 1990
Praise Him with the Trumpet, Agape Press, 1977
PUBLISHED SOLO, CHAMBER AND ORCHESTRAL COMPOSITIONS
Wade in the Water for Organ, Baptism and Communion, Augsburg Organ Library, 2006
Azmon for Organ, Baptism and Communion, Augsburg Organ Library, 2006 (Also included in On Our
Way Rejoicing – A Collection of Organ Music, Augsburg Fortress Press, 2002)
Emanations from the Sacred Harp for Concert Band, Vivace Press, 2008 (in press)
Frontier Fancies for Violin and Orchestra, Vivace Press, 2006
Carondolet Caprice for Chamber Ensemble, Vivace Press, 2006
Separately Together: Synesthesia for Chamber Ensemble, Vivace Press, 2006
American Solstice for Chamber Ensemble, Vivace Press, 2006
Hosanna, Loud Hosanna: Organ Settings for Lent and the Passion, Augsburg Fortress Press, 2004
Veneration for Orchestra, Vivace Press, 2004
Fantasy and Fugue Frantique for Harpsichord, Vivace Press, 2004
Emanations of the Sacred Harp for Cello and Piano, Vivace Press, 2004
Toccatas and Fugues on Hymns by European Women for Solo Organ, Vivace Press, 2003
As We Gather - A Collection of Organ Music, Augsburg Fortress Press, 2003
Swing Low, Sweet Chariot in Augsburg Organ Library: Autumn, Augsburg Fortress Press, 2003
"On Our Way Rejoicing" -- a collection of organ music, Augsburg Fortress Press, 2002
Suite on German Chorales, Augsburg Fortress Press, 2002
Tres Danzas para Clavecin for Harpsichord, Vivace Press, 1993